Rhipidion
A rhipidion (plural rhipidia , from Greek ῥίπτω to fling, to fan) is a liturgical device in the Eastern churches that consists of a thin metal disc mounted on a long pole.
origin
The Rhipidion developed from the flabellum of the ancient church, a feather fan on a long pole, which was moved around the altar during mass and other worship services, both to fan the air and to keep insects away from the celebrants and the altar.
Over time, regardless of its original practical purpose, the sacred flabellum developed into a liturgical symbol to underline the dignity of the event. There were similar subjects in the court ceremonies of secular rulers.
The flabels reached the western church from the Orient, spread here only moderately and were largely out of use again by 1300 at the latest; only at solemn appearances by the Pope were they used as a pure symbol of honor, right up until the pontificate of Paul VI. in, carried along.
In the eastern liturgies the flabels remained in continuous use, but mostly rhipidia developed from them.
Purpose and design
The rhipidion is a round, thin metal disc on a long rod that is used in the oriental liturgies of both the autocephalous communities and the Catholic Church . In many of these rites, the rhipidia represent pure honorary or status symbols, which decorate the chancel or are sometimes worn to increase the liturgical festivity, for example during processions and as an honorary accessory for the bishop. Since it can be waved or fanned out and the metal disc usually has a seraph image , it is also said that it symbolizes the presence of the flying angels .
The Rhipidion has a special position in the religious services of the Antiochene liturgical family . In addition to its purely ceremonial use as a symbol of honor or status, it is used here at every trade fair to mark the most important moments visually and acoustically or to underline them solemnly. There are small bells, metal rings or metal tongues attached to the rhipidia discs, which emit a ringing or metallic humming sound when they are fanned. Here, too, the symbolism of angels flapping their wings and making music is the basis. In the course of the celebration of the Eucharist, especially during the trisagion , when speaking the words of institution both over the bread and over the chalice, as well as during the epiclesis and the elevation of the consecrated figures, vigorous waves are waved several times. This handling has its counterpart in the western church in the altar bells .
The rhipidia are normally supposed to be used in pairs and served by clerics; this is what usually happens with pontifical worship . In daily use, however, this usually accept acolytes .
literature
- Johannes Madey : Annaphora, the divine liturgy in the rite of the Syro-Antiochene Church and the Malankar Church , page VIII, Eastern Church Service Paderborn, 1992
- Andreas Müller : The divine liturgy . In: Quatember , LXIV, 2000, pp. 145–155, here p. 152
- Rhipidion. In: The large art dictionary by PW Hartmann
Web links
Individual evidence
- ↑ Joseph Braun: The Christian altar device in its being and in its development , Munich 1932, page 652; Online view of the source